Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-36-45
O. Demidko
The article outlines the crimes of the Russian occupiers against the cultural heritage of Mariupol. The norms of international humanitarian law, which protect cultural values during military operations, are analyzed. The autor explains that the parties to the conflict are obliged to respect and protect them, prohibit, warn and stop any acts of theft, robbery or misappropriation of cultural values in any form, as well as any acts of vandalism. The characteristics of the most damaged or completely destroyed architectural monuments of Mariupol are given. The paper emphasizes that the only cultural institution preserved in the city is the famous Mariupol Chamber Philharmonic, which has become a refuge for Mariupol residents thanks to the dedication and daily work of its director, Honored Artist of Ukraine, chief conductor of the Mariupol Municipal Chamber Orchestra «RENASSIN» Vasyl Kryachko. The autor indicates that restitution is the main means of compensation for damage caused to cultural heritage and cultural values as a result of violation of international norms during the armed conflict. The task of restitution is not just to return individual cultural values and compensate for the damage, but also restore the cultural objects as an integral cultural heritage of the nation and the state. The second form of restitution is related to the replacement of cultural values with similar objects lost as a result of hostilities. Thus, on March 21, 2022, the building of the Arkhip Kuindzhi Art Museum in Mariupol was destroyed by a direct hit from an air bomb of the Russian occupiers. The aggressor state is responsible for this. That is why the Russian Federation should hand over masterpieces similar to the lost ones from its collections to Ukraine and reimburse the cost of the destroyed museum premises or build a new one. The study makes it possible to conclude that restoration of cultural heritage and return of cultural values will become an important task of the state and society after the victory of Ukraine. Ukrainian cultural heritage is part of the world cultural heritage, therefore, all the states of the world have an obligation to preserve and return it. The facts and patterns revealed as a result of the research can become the basis for further study of the war crimes of the Russian army against the cultural heritage of Ukraine.
{"title":"Crimes of the russian occupiers against the cultural heritage of Mariupol","authors":"O. Demidko","doi":"10.34079/2226-2849-2022-12-23-36-45","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-36-45","url":null,"abstract":"The article outlines the crimes of the Russian occupiers against the cultural heritage of Mariupol. The norms of international humanitarian law, which protect cultural values during military operations, are analyzed. The autor explains that the parties to the conflict are obliged to respect and protect them, prohibit, warn and stop any acts of theft, robbery or misappropriation of cultural values in any form, as well as any acts of vandalism. The characteristics of the most damaged or completely destroyed architectural monuments of Mariupol are given. The paper emphasizes that the only cultural institution preserved in the city is the famous Mariupol Chamber Philharmonic, which has become a refuge for Mariupol residents thanks to the dedication and daily work of its director, Honored Artist of Ukraine, chief conductor of the Mariupol Municipal Chamber Orchestra «RENASSIN» Vasyl Kryachko. The autor indicates that restitution is the main means of compensation for damage caused to cultural heritage and cultural values as a result of violation of international norms during the armed conflict. The task of restitution is not just to return individual cultural values and compensate for the damage, but also restore the cultural objects as an integral cultural heritage of the nation and the state. The second form of restitution is related to the replacement of cultural values with similar objects lost as a result of hostilities. Thus, on March 21, 2022, the building of the Arkhip Kuindzhi Art Museum in Mariupol was destroyed by a direct hit from an air bomb of the Russian occupiers. The aggressor state is responsible for this. That is why the Russian Federation should hand over masterpieces similar to the lost ones from its collections to Ukraine and reimburse the cost of the destroyed museum premises or build a new one. The study makes it possible to conclude that restoration of cultural heritage and return of cultural values will become an important task of the state and society after the victory of Ukraine. Ukrainian cultural heritage is part of the world cultural heritage, therefore, all the states of the world have an obligation to preserve and return it. The facts and patterns revealed as a result of the research can become the basis for further study of the war crimes of the Russian army against the cultural heritage of Ukraine.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134105158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-27-36
Kateryna Haidukevych
The scientific research reveals the characteristics of the festival as a cultural form, defines its structure, functions and social purpose. General and special features of the festival as a festive practice are described (its purpose, ontological foundations, cultural potential). The research methodology focused on the systematic approach allowed to apply the comparative, historical and cultural, typological and analytical methods. The ability of the festival to improve social relations, smooth over difficulties and misunderstandings caused by intercultural diversity, create a single cultural space indicates that in the modern world the leading function of the festival is integration and differentiation. The study justifies that in order to initiate systematic festival practices in territorial communities one should take into consideration the following factors: the significance of the cultural potential of the festival; the ability of cultural practices to influence the economic situation of the settlement; the impossibility to realize the festival potential without the support of the government and understanding the importance of culture as social capital by its representatives; the co-ordination of common interests between the cultural and artistic environment and the local community; having a common understanding of social and cultural problems and ways to solve them. The author proves that the festival, forming an open symbolic and cultural space for dialogue, acts as a «cultural mediator» between different social groups of society. The implementation of communicative, educational, entertainment functions and the function of a direct participation contributes to achieving the goal. In modern society, the festival is not only a powerful factor in strengthening social capital as such, which stimulates the economic, cultural, and educational development of the local community; the festival represents and, at the same time, produces patterns of cultural development for the near future. It creates its own cultural product, actualizing modern culture, as it combines different cultural practices in a single project.
{"title":"The festival as a convivial cultural practice","authors":"Kateryna Haidukevych","doi":"10.34079/2226-2849-2022-12-23-27-36","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-27-36","url":null,"abstract":"The scientific research reveals the characteristics of the festival as a cultural form, defines its structure, functions and social purpose. General and special features of the festival as a festive practice are described (its purpose, ontological foundations, cultural potential). The research methodology focused on the systematic approach allowed to apply the comparative, historical and cultural, typological and analytical methods. The ability of the festival to improve social relations, smooth over difficulties and misunderstandings caused by intercultural diversity, create a single cultural space indicates that in the modern world the leading function of the festival is integration and differentiation. The study justifies that in order to initiate systematic festival practices in territorial communities one should take into consideration the following factors: the significance of the cultural potential of the festival; the ability of cultural practices to influence the economic situation of the settlement; the impossibility to realize the festival potential without the support of the government and understanding the importance of culture as social capital by its representatives; the co-ordination of common interests between the cultural and artistic environment and the local community; having a common understanding of social and cultural problems and ways to solve them. The author proves that the festival, forming an open symbolic and cultural space for dialogue, acts as a «cultural mediator» between different social groups of society. The implementation of communicative, educational, entertainment functions and the function of a direct participation contributes to achieving the goal. In modern society, the festival is not only a powerful factor in strengthening social capital as such, which stimulates the economic, cultural, and educational development of the local community; the festival represents and, at the same time, produces patterns of cultural development for the near future. It creates its own cultural product, actualizing modern culture, as it combines different cultural practices in a single project.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129610328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-85-96
T. Melnyk
The purpose of the work is to investigate and characterize the state of the issue of emancipation in the feminine aspect in the socio-cultural space within the boundaries of Ukraine during the period of independence. Ukraine's independence became a kind of "bifurcation point", marking a critical state in politics, ideology, and culture with the subsequent transition to another level of order in all spheres, including in the aspect of emancipation processes in the socio-cultural field. The situation of "conditional beginning" was deliberately chosen as the starting point when determining the chronological limits of the study, because it opens up prospects to trace the dynamics of qualitative reconstructions and transformations in the socio-cultural being, actualizing gender identification processes in society. The study of the outlined topic involves the use of the following research methods: historical and artistic analysis (for examining an array of scientific sources, studies of predecessors — scientists engaged in researching the issues related to the topic of our investigations - to study the stage of the development of the chosen topic); method of systematization (for a comprehensive understanding of the artifacts created in different types, genres, presented on different media, visual media, literary sources); the method of theoretical generalization (for a concise summary of the processed material). Methods of assumption and analogy, classification and other empirical and theoretical research methods were used as supplementary ones. The scientific novelty of the research lies in the fact that within the stated chronological period the author conducts a comprehensive exploration of the logic of changes in the understanding of feminine and masculine principles and the state of gender equality issues in Ukraine during the period of independence. In conclusion, the paper states that after gaining independence, the processes aimed at rejecting and condemning many aspects of the past, inspired by the European vector of the direction of the state's development, became widespread, which is also relevant for the present. They relate to aspects of gender equality, as well as the self-identification of a woman as a member of society and an active participant in socio-cultural processes. The statistics presented in the article indicate that, unfortunately, women are quite faced with oppression in various aspects, and also, they are the ones who still highlight this problem in the visual arts, realizing the desire to change the dichotomy "object-subject" in the aspect of female physicality . Positive developments in this field are characterized by changes in the language aspect, namely the appearance of feminitive and gender-tolerant vocabulary, as well as the spread of various art projects dedicated to this topic, described in the text of the study.
{"title":"Feminine aspect of the process of emancipation in the socio-cultural space of Ukraine during the period of independence","authors":"T. Melnyk","doi":"10.34079/2226-2849-2022-12-23-85-96","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-85-96","url":null,"abstract":"The purpose of the work is to investigate and characterize the state of the issue of emancipation in the feminine aspect in the socio-cultural space within the boundaries of Ukraine during the period of independence. Ukraine's independence became a kind of \"bifurcation point\", marking a critical state in politics, ideology, and culture with the subsequent transition to another level of order in all spheres, including in the aspect of emancipation processes in the socio-cultural field. The situation of \"conditional beginning\" was deliberately chosen as the starting point when determining the chronological limits of the study, because it opens up prospects to trace the dynamics of qualitative reconstructions and transformations in the socio-cultural being, actualizing gender identification processes in society. The study of the outlined topic involves the use of the following research methods: historical and artistic analysis (for examining an array of scientific sources, studies of predecessors — scientists engaged in researching the issues related to the topic of our investigations - to study the stage of the development of the chosen topic); method of systematization (for a comprehensive understanding of the artifacts created in different types, genres, presented on different media, visual media, literary sources); the method of theoretical generalization (for a concise summary of the processed material). Methods of assumption and analogy, classification and other empirical and theoretical research methods were used as supplementary ones. The scientific novelty of the research lies in the fact that within the stated chronological period the author conducts a comprehensive exploration of the logic of changes in the understanding of feminine and masculine principles and the state of gender equality issues in Ukraine during the period of independence. In conclusion, the paper states that after gaining independence, the processes aimed at rejecting and condemning many aspects of the past, inspired by the European vector of the direction of the state's development, became widespread, which is also relevant for the present. They relate to aspects of gender equality, as well as the self-identification of a woman as a member of society and an active participant in socio-cultural processes. The statistics presented in the article indicate that, unfortunately, women are quite faced with oppression in various aspects, and also, they are the ones who still highlight this problem in the visual arts, realizing the desire to change the dichotomy \"object-subject\" in the aspect of female physicality . Positive developments in this field are characterized by changes in the language aspect, namely the appearance of feminitive and gender-tolerant vocabulary, as well as the spread of various art projects dedicated to this topic, described in the text of the study.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129984348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-166-177
I.H. Lukovenko
The article analyzes socio-demographic indicators obtained during the all-Russian population census in 1897, which characterize the socio-cultural aspects of the Jewish community of the Azov region and Mariupol. The share of the Jewish population in Mariupol was much larger than in the countryside. The urban population significantly prevailed over the rural population. Jewish and German agricultural colonies, as well as Ukrainian and Greek villages, were the centers of Jewish settlement in the countryside. The Jewish community of both the city and the countryside was predominantly young with a predominance of people of working and reproductive age. The identification of the Jewish community was determined by linguistic (Jewish language) and religious (Judaism) characteristics. The number of followers of Judaism was greater than the number of speakers of the Hebrew language due to the fact that some Jews communicated in other languages, mainly Russian. The share of Russian-speaking people in the city was higher than in the countryside, due to the greater number of Russification factors in the city. The social structure of the Jewish community of the city of Mariupol was determined by the total predominance of the bourgeois component with an insignificant presence of others, in particular, the peasantry and merchants. The rural area was characterized by the predominance of peasant and bourgeois classes. The structure of professional activity basically repeated the one that the Jews brought from the towns - craft and trade activity. In the countryside, a significant layer of agricultural activity was added, and in the city, a variety of free professions (journalists, lawyers, doctors, education workers) were spread.
{"title":"Socio-demographic case study of the jewish community of Mariupol and Azov region during the pre-soviet period (based on the 1897 census)","authors":"I.H. Lukovenko","doi":"10.34079/2226-2849-2022-12-23-166-177","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-166-177","url":null,"abstract":"The article analyzes socio-demographic indicators obtained during the all-Russian population census in 1897, which characterize the socio-cultural aspects of the Jewish community of the Azov region and Mariupol. The share of the Jewish population in Mariupol was much larger than in the countryside. The urban population significantly prevailed over the rural population. Jewish and German agricultural colonies, as well as Ukrainian and Greek villages, were the centers of Jewish settlement in the countryside. The Jewish community of both the city and the countryside was predominantly young with a predominance of people of working and reproductive age. The identification of the Jewish community was determined by linguistic (Jewish language) and religious (Judaism) characteristics. The number of followers of Judaism was greater than the number of speakers of the Hebrew language due to the fact that some Jews communicated in other languages, mainly Russian. The share of Russian-speaking people in the city was higher than in the countryside, due to the greater number of Russification factors in the city. The social structure of the Jewish community of the city of Mariupol was determined by the total predominance of the bourgeois component with an insignificant presence of others, in particular, the peasantry and merchants. The rural area was characterized by the predominance of peasant and bourgeois classes. The structure of professional activity basically repeated the one that the Jews brought from the towns - craft and trade activity. In the countryside, a significant layer of agricultural activity was added, and in the city, a variety of free professions (journalists, lawyers, doctors, education workers) were spread.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130102004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-120-131
Juliia Sabadash, Y. Nikolchenko
Peer-reviewed monograph "Higher Cultural Education in Ukraine: Regional Discourse (through the prism of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities)", prepared for publication by Doctor of Cultural Studies, Professor, Professor of the Department of Event Industry and Culture Vytkalov, is the first attempt in domestic historiography to comprehensively study the system of higher cultural education in Ukraine, based on 50 years of experience of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities, formed in 1971 within the Rivne Faculty of Culture and Education of the Kyiv State Institute of Culture, and later (since 1979) - Rivne State Institute of Culture and (since 1998) - in RDGU. The use of historical-analytical method, system-functional approach and network analysis allowed the author of the monograph to comprehensively analyze the trends in the development of higher cultural education in the western region of Ukraine in its historical retrospective. In a highly professional clarification of the essence of educational and scientific activities of the staff of the department for 50 years, the author originally used the form of the Chronicle as a traditional method of phased coverage of events. This is a complete picture of the directions and effectiveness of its work not only in the system of higher cultural education in Ukraine, but also the development of culture and art in Volyn, Zakarpattia, Ivano-Frankivsk, Lviv, Rivne, Ternopil, Khmelnytsky, Chernivtsi regions provided by the graduates of the department according to the state order. The monograph will be useful for scientists, students, cultural workers; it is a significant contribution of the lecturers of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities to the development of Ukrainian cultural studies.
{"title":"50 years of chronicle discourse of the department of event-industries, culturology and museum studies of Rivne state humanitarian university","authors":"Juliia Sabadash, Y. Nikolchenko","doi":"10.34079/2226-2849-2022-12-23-120-131","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-120-131","url":null,"abstract":"Peer-reviewed monograph \"Higher Cultural Education in Ukraine: Regional Discourse (through the prism of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities)\", prepared for publication by Doctor of Cultural Studies, Professor, Professor of the Department of Event Industry and Culture Vytkalov, is the first attempt in domestic historiography to comprehensively study the system of higher cultural education in Ukraine, based on 50 years of experience of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities, formed in 1971 within the Rivne Faculty of Culture and Education of the Kyiv State Institute of Culture, and later (since 1979) - Rivne State Institute of Culture and (since 1998) - in RDGU. The use of historical-analytical method, system-functional approach and network analysis allowed the author of the monograph to comprehensively analyze the trends in the development of higher cultural education in the western region of Ukraine in its historical retrospective. In a highly professional clarification of the essence of educational and scientific activities of the staff of the department for 50 years, the author originally used the form of the Chronicle as a traditional method of phased coverage of events. This is a complete picture of the directions and effectiveness of its work not only in the system of higher cultural education in Ukraine, but also the development of culture and art in Volyn, Zakarpattia, Ivano-Frankivsk, Lviv, Rivne, Ternopil, Khmelnytsky, Chernivtsi regions provided by the graduates of the department according to the state order. The monograph will be useful for scientists, students, cultural workers; it is a significant contribution of the lecturers of the Department of Event Industries, Cultural Studies and Museum Studies of Rivne State University for the Humanities to the development of Ukrainian cultural studies.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122184981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.34079/2226-2849-2022-12-23-149-155
Karina Fedosenko
The music industry consists of a number of components - the production of new products, their circulation in the media and the implementation of concert activities. Usually the process of producing musical products went through such stages as writing compositions, creating arrangements for them, performing at concerts and finally recording songs in studios. Subsequently, there was a tour, which could increase the ability to effectively implement the already finished musical product. As a result of the military events taking place in Ukraine, the modern domestic music industry, in which various forms of musical production and performing activities were presented, is currently in a state of significant transformational changes. As a result of active hostilities on the Ukrainian territory, there was a need to find new formats of implementation, first of all, concert activities. The representatives of Ukrainian show business have developed new strategies for promoting their performance. Firstly, the practice of holding concert events abroad with the participation of Ukrainian performers has spread. Events combining offline and online performances have also been introduced. There has been a practice of using such locations as the subway for concert activities, which, due to its characteristics, has an increased level of security in the event of the threat of artillery fire and missile strikes. Spontaneous open-air concerts, organized for charitable purposes, have also spread. The release of musical products continues, but the content of the musical content has acquired a more patriotic-tinged character and taken high positions in the charts, ratings, etc. The author states that some compositions have acquired the meaning of peculiar symbols of the struggle of the Ukrainian people for their independence. Their numerous performance versions, in which Ukrainian and Western musicians took part, have acquired the status of "viral". This was facilitated by the creative collaborations of foreign performers with Ukrainian musicians. The goal of creative cooperation was to show support for the Ukrainian people, express it in musical form. Such actions are extremely important, and various musicians have demonstrated solidarity with the Ukrainians. All these factors have a fleeting effect on the increase of interest in the Ukrainian cultural product, support of the music industry. At the same time, they perform the role of psychological support. Key words: music industry, music product, concert, rating, war, Ukraine.
{"title":"Music industry of Ukraine during the war","authors":"Karina Fedosenko","doi":"10.34079/2226-2849-2022-12-23-149-155","DOIUrl":"https://doi.org/10.34079/2226-2849-2022-12-23-149-155","url":null,"abstract":"The music industry consists of a number of components - the production of new products, their circulation in the media and the implementation of concert activities. Usually the process of producing musical products went through such stages as writing compositions, creating arrangements for them, performing at concerts and finally recording songs in studios. Subsequently, there was a tour, which could increase the ability to effectively implement the already finished musical product. As a result of the military events taking place in Ukraine, the modern domestic music industry, in which various forms of musical production and performing activities were presented, is currently in a state of significant transformational changes. As a result of active hostilities on the Ukrainian territory, there was a need to find new formats of implementation, first of all, concert activities. The representatives of Ukrainian show business have developed new strategies for promoting their performance. Firstly, the practice of holding concert events abroad with the participation of Ukrainian performers has spread. Events combining offline and online performances have also been introduced. There has been a practice of using such locations as the subway for concert activities, which, due to its characteristics, has an increased level of security in the event of the threat of artillery fire and missile strikes. Spontaneous open-air concerts, organized for charitable purposes, have also spread. The release of musical products continues, but the content of the musical content has acquired a more patriotic-tinged character and taken high positions in the charts, ratings, etc. The author states that some compositions have acquired the meaning of peculiar symbols of the struggle of the Ukrainian people for their independence. Their numerous performance versions, in which Ukrainian and Western musicians took part, have acquired the status of \"viral\". This was facilitated by the creative collaborations of foreign performers with Ukrainian musicians. The goal of creative cooperation was to show support for the Ukrainian people, express it in musical form. Such actions are extremely important, and various musicians have demonstrated solidarity with the Ukrainians. All these factors have a fleeting effect on the increase of interest in the Ukrainian cultural product, support of the music industry. At the same time, they perform the role of psychological support. Key words: music industry, music product, concert, rating, war, Ukraine.","PeriodicalId":145949,"journal":{"name":"Bulletin of Mariupol State University Series Philosophy culture studies sociology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132901231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}